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Christopher 



Columbus. 



CHRISTOPHER COLUMBUS 



-AN- 



Historical Spectacle — Presenting the most Magnificent Scenes and 



Dramatic Events in Connection with the Discovery of America 



Arranged for Presentation during the World's Fair at Chicago. 



U; TilS.: L. LITTLETON,i fEB 3 -M 



3 



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NKSHiZILl-e. TENN. 



1591. 



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Copyrighted November 5, 1891. 



CHRISTOPHER COLUMBUS. 



AN HISTORICAL SPECTACLE. 



ACT I. 

IMAGINATION. 

Scene — In the suburbs of Genoa. A wool-comber's cottage ; the father 
of Columbus combing wool. A distant street, with houses, churches, 
etc. Bell rings angelus, and two women fall on their knees at prayer. 
Under a large tree, beside a stream, is stretched a youth, in reverie. 
Books, charts are thrown about him. It is Columbus, dreaming of great 
achievements. Beside him crouches a dog in dumb subjection to the 
latent power of the youth. About him float fantastic forms, the imagina- 
tion of the youth. 

Historical Authority. — "It was the twilight of geographical knowledge. 

Imagination went hand in hand with discovery." 

— Wasldngion Irving. 

Dance of Fancy. Twenty-one blonde maidens in gossamer robes of 
seven skirts, the seven colors of the rainbow, with wings and peaked 
caps of the same delicate hued gossamer, with wands, dance to Swiss 
bells played by the Swiss bell-ringers. 

ACT II. 

THE INSPIRATION OF COLUMBUS. 

Historical Authority. — Washington Irving : " Columbus felt himself to be 
kindled with fire as from heaven, and considered himself the agent chosen by 
heaven to accomplish its grand designs. The ends of the earth were to be brought 
together, and all nations and tongues and languages united under the banners of 
the Redeemer. This was to be the triumphant consummation of his enterprise, 
bringing the remote and unknown regions of the earth into communion with 
Christian Europe; carrying the light of the true faith into benighted and pagan 
lands, and gathering their countless nations under the holy dominion ot the 
church." 



[ 4 1 

Scene — The sea coast. A long rocky stretch of land on the sea coast. 
A wild, lonely, desolate scene, with the waves of the ocean lashing the 
shore in sullen supplication. Columbus (about 30 years of age) stands 
with his hands outstretched, his eyes uplifted, his whole bearing is im- 
pressive with power. A Hght emanates from his countenance. At the 
rear of the stage heavenly visitants appear to him. 

First Vision. The Queen of Angels, crowned with Hlies, escorted 
by Angels, and holding in her hand the World shaped as a globe, and 
pointing to the see. 

Second Vision. A cannibal feast, representing the ghoulish glee of 
cannibals around a roasting victim. Demons with instruments of torture 
surround the savages. 

Third Vision. A ship manned by angels, bearing a cross, on which 
appears the luminous letters CHRISTIANITY. Columbus sees himself 
on the ship, and falling prostrate on his face, is approached by three 
Archangels: Raphael, who gives him the helmet of hope; Gabriel, the 
shield of faith, and Michael, the sword of justice. 

The orchestra plays on violins and harp during these visions. 

Chorus, " He shall give His angels charge over them," from Men- 
delssohn's Elijah. 

As they fade, a chorus of Aztecs chant the prophecy of their King as 
to the coming of the Fair God. This prophecy may be set to the chorus 
by the priests of Baal in " Elijah." 

The Sacrificial Dance of the Aztecs. A procession ot priests, follov/ed 
by a youth wreathed with flowers, and escorted to his room by dancing 
maidens. As this is a scene of prophecy the distant history of the New 
World is glimpsed in this chorus and dance. 

ACT III. 

THE VISIT OF COLUMBUS TO THE COURT OF SPAIN. 

tliSTORiCAL Authority. — Washington Irving: "The Court was thronged by 
the most illustrious of that war-like country and stirring era; by the flower of its 
nobility, by the most dignified of its prelacy, by bards and minstrels, and all the 
retinue of a romantic and picturesque age. There was nothing but the glittering 
of arms, the rustling of robes, the sound of music and festivity. 

" Do you want a picture of our navigator during this brilliant and triumphant 
scene? It is furnished by a Spanish writer: 'A man obscure and but little known 
followed at this time the Court. Confounded in the crowd of importunate appli- 
cants, feeding his imagination in the corners of ante-chambers with the pompous 
project of discovering a world, melancholy and dejected in the midst of the general 
rejoicing, he beheld with indifference, and almost with contempt, the conclusion of 
a conquest which swelled all bosoms with jubilee, and seemed to have reached the 
utmost bounds of desire. Tiiat man was Christopher Columbus.'" 



L 5 ] 

Scene — A moonlit garden of the Court of Castile. The Southern warmth 
of bloom and bower; the oriental beauty of fountains and sculptured 
archways. Glimmering through the trees the distant Moorish palaces. 
Scattered throughout the garden picturesque groups of knights ann ladies. 
A minstrel playing a harp for a group of youths and maidens reclining 
at his feet on rugs and cushions- From an overhanging balcony a beau- 
tiful lady flinging roses to a masked lover. A group of Jews and Arabs 
in a dark recess, with stilettos and faces of hatred. In the midst of gayety 
and splendor, Columbus, dispirited and dejected, alone, save for a fool 
making sport of him. 

Dance. A royal mmuette in the Court dress of the times. 

ACT IV. 

COLUMBUS AT THE CONVENT OF LA RABIDA. 

Historical Description. — Washington Irving : " About half a league from 
the little seaport of Palos de Moguer in Andalusia there stood, and continues to 
stand at the present day, an ancient convent of Franciscan Friars, dedicated to 
Santa Maria de Rahida. One day a stranger on foot, in humble guise, but of distin- 
guished air, accompanied by a small boy, stopped at the gate of the convent and asked 
of the porter a little bread and water for his child. While receiving this humble 
refreshment, the prior of the convent. Juan Perez de Marchena happening to pass 
by, was struck with the appearance of the stranger, and observing from his air 
and accent that he was a foreigner, entered into conversation with him, and soon 
learned the particulars of his story. That stranger was Columbus. He was greatly 
interested by the conversation of Columbus and struck with the grandeur of his 
views.'' 

Scene — The plain, bare cell of a monk. Seated at a table, examining 
with approval the maps and charts of Columbus, is the monk, Juan Perez 
de Marchena; standing near him Columbus, pale from hunger, ragged 
from exposure. Deigo, the little son of Columbus, voraciously devours 
some bread and milk. Through the door of the cell opening inward may 
be seen the interior of a mediaeval chapel and the Franciscan monks at 
prayer. A procession of monks, two abreast, majch through the chapel 
intoning the Gregorian chant. 

ACT V. 

ISABELLA OFFERS TO PLEDGE HER JEWELS. 

Historical Description. — Washington Irvhig: "There was still a moment's 
hesitation. The King looked coldly on the affair, and the royal finances were 
absolutely drained by the war. Some time must be given to replenish them. How 
(!ould she draw on an exhausted treasury for a measure tj which the King was 
adverse? St. Angel watched this suspense with trembling anxiety. The next 
moment reassured him. With an enthusiasm worthy of herself and of the cause 



[ 6 ] 

Isabella exclaimed : 'I undertake the enterprise for my own crown of Castile and 
will pledge my jewels to raise the necessary funds.' This was the proudest moment 
in the life of Isanella; it stamped her rebown forever as the patronese of the dis- 
covery of the New "World." 

Scene— The camp before Grenada. A silken pavilion, glittering with 
the pomp of that chivalrous age. Guards in armor ; ladies in waiting. 
Through the door of the tent may be seen triumphant processions. The 
royal children are present. Seated on a couch, richly dressed, is Isabella, 
beautiful and gracious as an angel; filled with enthuiasm she holds out 
one hand overflowing with jewels, while with the other she seeks to un- 
clasp the chain about her throat. Columbus kneels on one knee, kissing 
the hand of his benefactress. Standing behind Isabella, Ferdinand ; and 
near her, his eyes fixed on Columbus with prophetic intensity, stands 
Pedro Gonzales de Mendoza, Archbishop of Toledo. In this scene must 
appear the triumph of Spain in the surrender of Granada, as it was at 
this time Columbus made successful application to Isabella. 

National Air of Spain. Dance of the captive Moorish maidens. In 
this dance thirty dark eyed and dark haired Arab maidens, with silver 
chains on their wrists, dance a Moorish dance. 

ACT VI. 

THE DEPARTURE. 

Historical Authority. — Washmgton Irving: "At length the vessels were 
ready for sea. The largest, which had been prepared expressly for the voyage 
and was decked, was called the Santa Maria ; on board of this ship Columbus 
hoisted his flag. The seeand, called the Pianta, was commanded by Martin 
Alonzo Pinzon, accompanied by his brother Francisco Martin, as pilot. The third, 
called the Nina, had latine sails, and was commanded by the third of the brothers, 
Vincente Yanez Pinzon. A deep gloom was spread over the whole community 
of Palos at their departure, for almost every one had some relative or friend on 
board of the squadron. The spirits of the seamen, already depressed by their own 
fears, were still more cast down at the affliction of those they left behind who took 
leave of them with tears and lamentations and dismal forebodings, as of men they 
were never to behold again." 

Scene — The Seaport of Pahs . Three caravels just launched; in the 
foremost one, Columbus, the flag of Spain unfurled, his whole bearing 
triumphant to exultation. On the shore, in picturesque costumes, the 
peasantry of Spain bewailing by attitudes of despair the departure of 
friends. One group from the court especially grieved, the lady Beatrice, 
guardian of his son, Deigo. In the distant background a calvacade of 
knights and ladies with Isabella on her Arab steed watching the depart- 
ure. 

Orchestra, Selection from Mozart's Requiem. 

Spanish Peasant Dance. 



[ 7 ] 
ACT VII. 

THE MUTINY AT SEA. 

Historical Authority. — Washington Irving : " Columbus was now at open 
defiance with his crew, and his situation became desperate." 

Scene — On deck of a ship at sea. A tropical storm rages. The sailors 
pale, emaciated, ragged, leave their posts of duty and turn on Columbus 
to take his life. One man lies dying, others sit in despondent attitudes. 
Columbus, pale but resolute, faces the mutiny. 

The orchestra plays "The Storm on Mt. Carmel," from Mendels- 
sohn's Elijah. 

ACT VIII. 

THE MUTINY QUELLED. 

Historical Description. — Washingio7i Irving: "In the evening, when — 
according to invariable custom on board of the Admiral's ship — the mariners had 
sung the "Salve Kegina" or vesper hymn to the Virgin, he made an impressive 
address to his crew and pointed out the goodness of God." 

Scene — On board the ship. Columbus and his crew at prayer. The 
storm abated ; the clouds are parted by the Star of the Sea, an angelic 
beauty of luminous beauty, crowned with stars and holding on her staff 
the brilliant star of the sea. She points to land in view ; the cannon fires, 
the sailors shout " land ho! " and chorus of sailors chant " Salve Regina " 

Sea monster's parade. In this paiade will appear the various monsters 
of the deep that so terrified the sailors on their first voyage. 

ACT IX. 

the LANDING. 
Historical Scene. — Washington Irving: "It was on Friday morning, the 
12th of October, that Columbus first beheld the new world. As the day dawned 
he saw before him a level island, several leagues in extent, and covered with trees 
like a continual orchard. Though apparently uncultivated it was populous, for 
the inhabitants were seen issuing from all parts of the woods and running to the 
shore. They were perfectly naked, and, as they stood gazing at the ships, appear- 
ed by their attitudes and gestures to be lost in astonishment. Columbus made signal 
for the ships to cast anchor, and the boats to be manned and armed: He entered 
his own boat, richly attired in scarlet, and holding the royal standard ; while 
Martin Alonzo Pinzon and Vincent Janez his brother, put ofl'in company in their 
boats, each with a banner of the enterprise emblazoned with a green cross, having 
on either side the letters F. and Y., the initials of the Castilian monarchs Fernan- 
do and Ysabel, surmounted by crowns." 

Scene — San Salvador. The Santa Maria is drawn near to the shore, 
from which rush the exulting crew. The foremost to land is a Dominican 



L 8 ] 

friar who plants a large cross; he is followed by Columbus with the 
banner of Spain. Columbus falls on his knees and kisses the soil; other 
groups are arranged to express the triumph and joy of the crew. 

On an overhanging rock three angels chant ''Glory to God," from 
Handel's Messiah. 

Devils' Rage Dance. The various demons, idolatry, cannibalism, 
human sacrifice, etc., dance a rythnless, mechanical, musicless dance. 
At sight of the cross they disappear with a diabolical groan into flames 
that rise up to receive them. 

ACT X. 

INDIAN CACIQUES PAVING TRIBUTE TO COLUMBUS. 

Scene — An Indian Village. Tents at whose doors sit old women. 
Canoes anchored in sight. A young buck tempering his arrows They 
all have stopped their employment to look at Columbus, who, seated on 
a rock, arrayed in his admiral robes, receives tribute from the various 
Indian chiefs. The costumes of these chiefs will be as varied as possible, 
from the cotton apron to the feather armor of the higher civilized. Near 
Columbus, Spanish officers bartering for gold, etc., etc. 

Solo and chorus: Indian song. 

Second Part — An Indian war dance. 

Historical Description of an Indian Dance. — Washington In-ing : 
'• While they were conversiug a canoe arrived from another part ot the island, 
hringing pieces of gold to be exchanged for hawk's bells; there was nothing upon 
which the natives set so much value »s upon these toys. The Indians were ex- 
travagently fond of the dance, which they performed to the cadence of certain 
songs, accompanied by the sound of a kind of drum n.ade from the trunk of a tree, 
and the rattling of hollow bits of wood ; but when they hung the hawk's bells 
about their persons and heard the clear musical .sound responding to the move- 
ments of the dance, nothing could exceed their wild delight." 

ACT XI. 

the return of COLUMBUS TO SPAIN. 

Scene — Royal saloon in the grand palace of Saiagoza, in Arragon, 
anciently the Aljaferia, or abode of the Moorish Kings. 
Given below is Irving's description of this scene : 

at BARCELONA. 

" To receive him with suitable pomp and distinction, the sovereigns had order- 
ed their throne to be placed in public under a rich canopy of brocade of gold in 
a vast and splendid saloon. Here the King and Queen awaited his arrival, seated 
in state, with the Prince .Juan beside them, and attended by the dignitaries of their 



[ 9 ] 

court and the principal nobility of Castile, Valentia, Catalonia and Arragon, all 
impatient to behold the man who has conferred so incalculable a benefit upon the 
nation. At length Columbus entered the hall, surrounded by a brilliant crowd of 
cavaliers, among whom, says Las Cassas, he was conspicuous for his stately and 
commanding person, which with his countenance rendered venerable by his gray 
hairs, gave him the august appearance of a senator of Rome; a modest smile 
lighted up his features showing that he enjoyed the state and glory in which he 
came; and certainly nothing could be more deeply moving to a mind inflamed by 
noble ambition, and conscious of having greatly deserved, than these testimonials 
of the admiration and gratitude of a nation, or rather of a world. As Columbus 
approached, the sovereigns rose as if receiving a person of the highest rank. Bend- 
ing his knees he offered to kiss their hands, but there was some hesitation on their 
part to permit this act of homage Raising him in the most gracious manner they 
ordered him to seat himself in their presence, a rare honor in this proud and 
punctilious court. 

At their request he now gave an account of the most striking events of his 
voyage, and a description of the islands discovered. He displayed specimens of 
unknown birds and other animals ; of rare plants of medicinal and aromatic vir- 
tues; of native gold in dust, in crude masses, or labored in barbaric ornaments ; 
and, above all, the natives of these countries, who were objects of intense and in- 
exhaustible interest. All these he prounounced mere harbingers of greater dis- 
coveries yet to be made, which would add realms of incalculable wealth to the 
dominions of their majesties and whole nations of proselytes to the true faith. 

When he had finished the sovereigns sank on their knees and raising their 
clasped hands to heaven, their eyes filled with tears of joy and gratitude, pursed 
forth thanks and praises to God for so great a providence; all present followed 
their example ; a deep and solemn enthuiasm pervaded that splendid assembly and 
prevented all common acclamations of triumph. 

The anthem Te Deum Laudainus, chanted by the choir of the royal chapel, 
with the accompaniment of mstruments, rose in a full body of sacred harmony ; 
bearing up, as it were, the feeling* and thoughts of the auditors to heaven, so that, 
says the venerable Las Cascas, ' it seemed as if in that hour they communicated 
with celestial delights.' Such was the solemn and pious manner in which the bril- 
liant court ot Spain celebrated this sublime event, offering up a grateful tribute of 
melody and praise, and giving glory to God for the discovery of another world." 

Chorus: The Hallelujah Chorus from Handel's Messiah. 
Dance of Jewish maidens : The cymbal dance of Miriam and her 
maids. 

ACT XH. 

IMPRISONMENT AND PROPHECY. 

A rude, dark, low dungeon ; on a pallet of stones Columbus in chains. 
Resting on one elbow he gazes into the future and sees a great empire 
rise in symbolic vision. 

First Vision — From the sea rises a woman, liberty written on her 



brow, a torch in her hand. To accord with the brilliant hopes and 
ambitions of Columbus, this goddess will be the same one that personated 
Isabella. About her, rise and circle thirteen virgins, (the original thirteen 
States,) a slender band of silver about their flowing hair. 

Second Vision — Kings yielding their swords to George Washington. 

Third Vision — The World's Fair in honor of Columbus. A statue 
of Columbus rises, above it two angels with a wreath of laurels descend 
to crown him, (this wreath will be made of gas jets.) The United States, 
a queen surpassingly magnificent, mounts the base of the statue, lays the 
American flag at his feet while she beckons to a bevy of foreign queens 
(each nation represented at the World's Fair having a queen.) to follow 
her in honoring the statue of Columbus. These queens bear wreaths of 
their national fllowers ; France, lillies ; England, roses ; Ireland, sham- 
rock, etc. 

The orchestra plays an international fantasia, and, as the national air 
of each nation is distinctly heard, the Queen of that nation throws her 
wreath on the statue. 

Dance of the United States. As "Yankee Doodle" is played the 
Northern States, represented by maidens in armor, enter dancing ; when 
" Dixie " is played, the Southern States, as maidens, enter dancing; when 
the " Star Spangled Banner" is played they all dance together, and the 
last act is to fling their banners on the statue of Columbus so that its base 
will be buried in flags and flowers. 

finale. 
Copyrighitd, 1891. 



NOTE TO THE READER. 

The costumes, scenery, and faces of the play will be taken from his- 
torical descriptions and paintings, giving to the play an historical, artistic, 
and musical merit aside from its popularity as a gorgeous and appropriate 
pageant at a time when interest in Columbus is at that stage when 
pageantry is a necessary expression of the popular excitement. 



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